TY - JOUR
T1 - Blowin' in the Wind
T2 - The Musical Response to the War on Terror
AU - Smith, M.L.R.
AU - Jones, David
N1 - Publisher Copyright:
© 2021 The Author(s). Published with license by Taylor & Francis Group, LLC.
Copyright:
Copyright 2021 Elsevier B.V., All rights reserved.
PY - 2021/6/4
Y1 - 2021/6/4
N2 - Popular music was the most immediate way in which the cultural response to 9/11 manifested itself. Initially music offered a way of mourning and coping with grief. As the United States moved toward the invasion of Iraq, pop music also began to reflect the divisions in society between patriot-artists who supported the invasion, most notably in country music, and protest-artists who articulated critical attitudes to war. These anti-war songs did not attain the stature of those that characterized the era of protest during the Vietnam War, nor did they offer a musical accompaniment to a social movement with any enduring political significance. One little observed dissonance that a longitudinal survey of the musical response to political violence reveals, however, is that over time the attitudes of protest songwriters and the patriots transvalued. Ironically, interventionist “rednecks” became disillusioned with the endless wars of intervention, whilst the “protest” writers lost their voices after President Obama came to power. Ironically, icons of popular music instead turned their ire on those who voted for an anti-establishment President Trump who vowed not to involve the U.S. in further military adventures.
AB - Popular music was the most immediate way in which the cultural response to 9/11 manifested itself. Initially music offered a way of mourning and coping with grief. As the United States moved toward the invasion of Iraq, pop music also began to reflect the divisions in society between patriot-artists who supported the invasion, most notably in country music, and protest-artists who articulated critical attitudes to war. These anti-war songs did not attain the stature of those that characterized the era of protest during the Vietnam War, nor did they offer a musical accompaniment to a social movement with any enduring political significance. One little observed dissonance that a longitudinal survey of the musical response to political violence reveals, however, is that over time the attitudes of protest songwriters and the patriots transvalued. Ironically, interventionist “rednecks” became disillusioned with the endless wars of intervention, whilst the “protest” writers lost their voices after President Obama came to power. Ironically, icons of popular music instead turned their ire on those who voted for an anti-establishment President Trump who vowed not to involve the U.S. in further military adventures.
UR - http://www.scopus.com/inward/record.url?scp=85107470232&partnerID=8YFLogxK
U2 - 10.1080/1057610X.2021.1930862
DO - 10.1080/1057610X.2021.1930862
M3 - Article
SN - 1057-610X
SP - 1
EP - 24
JO - STUDIES IN CONFLICT AND TERRORISM
JF - STUDIES IN CONFLICT AND TERRORISM
ER -
